Member 2353
19 entries

Contributor to projects:
The Total Library
Berlin, DE
Immortal since Oct 16, 2009
Uplinks: 0, Generation 4

Gabriel Shalom
Quantum Cinema
Cyphox Industries
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    From notthisbody
    Becoming Infosynaesthetic
    From HelloAlexCL
    "The most alien looking...
    From Wildcat
    Knowmads as Aesthetic...
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    Gabriel Shalom’s projects
    The human species is rapidly and indisputably moving towards the technological singularity. The cadence of the flow of information and innovation in...

    A series of rambles by SpaceCollective members sharing sudden insights and moments of clarity. Rambling is a time-proven way of thinking out loud,...

    The Total Library
    Text that redefines...
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.

    A videomusical self-portrait.
    Tue, Dec 22, 2009  Permanent link
    Categories: videos
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    The digital settles in as background. We remember less and query more. Our identity play would be considered schizophrenic in the last century. We have more friends than ever before yet know new frontiers of isolation. The quantification of our experience haunts us in the form of a persistent history. And we are distracted more than we ever knew possible. These circumstances are paradoxically a description of the near future and a diagnosis of the current state of affairs. The truly timeless is redefined – it has transcended that which is classic; it has become that which is never finished.

    a video essay / design fiction by KS12

    Directed and Edited by Gabriel Shalom
    Designed by Patrizia Kommerell
    Produced by KS12
    Producer: Karen Cifarelli
    Commissioned by MU, Eindhoven
    Curated by Angelique Spaninks
    Production Assistant: Rob Versteeg

    (in order of appearance)

    Bernhard Herrmann
    Rafaël Rozendaal
    Bruce Sterling
    Peter Kirn
    Jorien Kemerink
    Markus Kayser
    Elske van der Putten
    Vivian van Gaal
    Toby Barnes
    Mary Flanagan

    Ghost Box

    Concept and Design: KS12
    Electronics: Philip Steffan
    Manufacture: Günter Herrmann Lehrmittelfabrik
    3D Prototype Modeling: Mendel Heit
    Fabrication Consultant: Fons Schiedon

    STRP Artworks

    E‪dwin van der Heide‬ DSLE -2- (2011)
    Marnix de Nijs Exploded Views 2.0 (2011)
    Telcosystems 12_series (2010)
    Digitale Werkplaats Bristlebots (2011)
    Bart Hess Liquified (2011)
    Fourcelabs Dance Engine (2011)


    Excerpt from “sketch_111229” by stra.
    © 2011 Shingo Inao

    “Anaxagoras” and “MeeBlip Landscape” by Peter Kirn
    © 2011 Peter Kirn

    “Melted Rubber Soul” by Campfires
    © 2011 Jeff Walls

    Special Thanks
    Bernhard Herrmann
    Helmut Seefeld

    Shot on location in Eindhoven, NL during the STRP Festival 2011 and in Hofgeismar, Germany at the Günter Herrmann Lehrmittelfabrik

    © 2012 KS12
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    The Future of Art
    an immediated autodocumentary

    What are the defining aesthetics of art in the networked era? How is mass collaboration changing notions of ownership in art? How does micropatronage change the way artists produce and distribute artwork? The Future of Art begins a conversation on these topics and invites your participation.

    This video was shot, edited and screened at the Transmediale festival 2011 in Berlin, Germany.

    Conceived and Edited by Gabriel Shalom
    Produced by KS12 / Emergence Collective
    Executive Producer: Patrizia Kommerell
    Assistant Editor: Clare Molloy
    Production Assistant: Annika Bauer


    Aaron Koblin
    Michelle Thorne
    Caleb Larsen
    Régine Debatty
    Heather Kelley
    Vincent Moon
    Ken Wahl
    Reynold Reynolds
    Bram Snijders
    Mez Breeze
    Zeesy Powers
    Joachim Stein
    Eric Poettschacher

    Including Video Material From:

    Vincent Moon, Achim Kern, Born Digital, Daniel Franke & Christopher Warnow, Memo Akten, Ian Mackinnon, Taj Dhami, Liisalotte Elme, Zeesy Powers, Reynold Reynolds, Patrizia Kommerell & Gabriel Shalom, Aaron Koblin, Alessandro Ludovico & Paolo Cirio, Iepe, Akiz

    Music, Sounds and Performances by:

    The Arcade Fire, The Crowd, Daniel Franke & Christopher Warnow, Monolake, Daito Manabe, Zeesy Powers, Arlt, Ei Wada, Gabriel Shalom (8 years old), by Laurie Bellanca

    Special Thanks:

    Elyse Harrison, Studio Neptune, Cifarelli Art Consulting, Henrik Moltke, Beckie Darlington, Open Design City, Cara Bell Jones, Ela Kagel

    CC 2011 BY-NC-SA
    KS12 / Emergence Collective

    Join the conversation!

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    Zeesy Powers

    Zeesy Powers gave us some impressions on the following questions for the Future of Art project:

    What indicators are there of a digital renaissance?
    Could the Internet become the ultimate archive for digital art?
    Why does it say "Zeesy Powers, Experiencing Time" on your website?
    What new media will artists be using in the future?

    Find out more about the Future of Art on Emergence Collective
    Twitter: #futureofart
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    Aaron Koblin

    Aaron Koblin gave us some impressions on the following questions for the Future of Art project:

    Are there networked aesthetics which can be visually identified?
    How will moving images change in the next 20–30 years?
    What do you think about this word “user-generated content”?
    Do you identify with the current artistic trend to shift away from product towards process?
    What indicators are there of a digital renaissance?

    Find out more about the Future of Art on Emergence Collective
    Twitter: #futureofart
    Thu, Jan 27, 2011  Permanent link
    Categories: aesthetics, videos, interviews, #futureofart
    Sent to project: Polytopia
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    A theory of aesthetics for object-oriented moving images.

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    Illustration by Charles Glaubitz

    The object as product. The time of the product as merely the output of industrial production is over. Today individuals are re-entering into the discourse of products using the same physical language of fabrication and prototyping as industrial manufacturing. Our facility with techniques such as laser cutting, CNC milling, 3D printing and vacuum forming — processes which used to be the elite language of twentieth century industrial manufacturing — are now starting to become the common vernacular of craft.

    This physical literacy of products is an emergent tendency which is changing communication. We can communicate ideas physically; for instance, as visions for future products in the form of functional prototypes. The individual can express a greater degree of his or her own vision. See also the capacity to use a laptop computer to independently produce, edit, distribute, and market video content all via the same device. The DIY and FabLab movements — and what they represent for manufacturing — is a parallel process; the implosion of that which was formerly stratified across the hierarchy of industrial production into one workshop.

    The object as commodity. While we are now conversant in this industrial product language, we simultaneously experience the compulsion to commodify (objectify) our work. This happens most clearly at the level of branding, insofar as the contemporary creative producer is painfully aware that the standard practice for gaining recognition in the product discourse is through brand narrative. Yet the auric peculiarity of the handmade or limited edition clashes with the anonymity and standardization implied by the dogma of industrial branding.

    This commodification (objectification) extends beyond consumerism to sexuality, politics, and public space. User-generated amateur pornography objectifies sexuality to such an extent that it alters our sexual identity as our objectified flesh is reflected back to us in the Internet. Political figures are commodified and become brands, giving us the Obamafication of an election, the Merkelization of an economy, or the Bushification of a war. In the face of this political impotency comes the privitization of public space, with entire new urban ecosystems coming into existence under corporate stewardship.

    The object as node. The semantic {object}{/object} (curly brackets used because code brackets get parsed). The object as the ideal modular component of a total system, defined unambiguously and therefore allowing portability across platforms via open standards. This model, originated in software, is having greater and greater relevance in the physical world; especially as we continue along a path towards interacting with the physical world using a digital interface.

    This language of objects from the world of programming has a value system. Which is to say that many of today’s programming languages are “object-oriented.” The value of an object is its ability to have a unique ID. In the physical world this value is reflected in the case of biometric identification embedded in passports. Each person becomes an object in a database; an aggregate of personal data. Tags in the cloud.

    Trends in augmented reality suggest that every product, every place, every person, every context may eventually be a semantic object, which is to say it may be a discrete node in a system with a unique ID, and therefore something which can be digitally identified, located, and manipulated. The vision of an Internet of things is contingent on each particle of physical existence having a unique digital identity or aura. The exploration of these digital auras using some sort of aura recognition interface poses a design challenge that will determine quite a bit of what it is like to be a human in a twenty-first-century urban space.

    The architecture of space becomes subjugated to the architecture of information. Certain architectural spaces which made sense in the twentieth century will make no sense in the twenty-first century. Witness the office building as a relic; as something which could transform into a coworking space, hinted at by the trend of Internet cafes becoming hubs for freelance knowledge workers. Work has become nomadic and therefore object-oriented through its connection to the mobile Internet workstation. The entire concept of “going to work” as per the industrial era is open to redefinition. The physical world of work begins to reflect the logic of the database instead of the cubicle.

    The object as sprite. Our contemporary moving image media of video games, computer interfaces, and the Internet proposes an aesthetics completely contingent on an object-oriented image field. Graphic illusions of depth or four dimensionality point to a future volumetric moving image medium. The aesthetics of these media pre-figure the larger aesthetics of the built and virtual worlds we’re likely to see in the future. The objects in video games become increasingly important culturally and economically. We witness the industrial appropriation of virtual object production with Chinese World of Warcraft gold farming sweatshops. Meanwhile we see the behavioral modification of an entire generation of children and young adults who’ve spent countless hours playing video games, interfacing with an object-oriented environment that programs both our behavioral and also aesthetic expectations.

    My generation of artists was raised on video games yet trained to work in classical digital media such as video. We are faced with a dilemma: as many of us are non-programmers, how do we represent an object-oriented moving image world in a flat, frame-based medium? The answer to this question begets hypercubist aesthetics, as the illusion of multiple timelines in the same frame reflects our struggle to reconcile an aesthetic ontology of 4D objects within a flat medium.

    The object as prop. The prop as that which is neither character nor set piece. The prop as a property of a story, somewhere along a continuum between a functionally interchangeable McGuffin and an irreplaceable touchstone of dramatic symbolism. As the boundaries blur between the physical and virtual we experience the first tremors of a wave of future shock that is capable of overwhelming our senses, attention spans and — yes — perhaps even our sanity.

    Yet despite the novelty of the technologically-driven evolutionary delta which humanity faces, it will be with one of our oldest and most sacred human traditions that we will survive this information inundation: namely, by engaging in storytelling. Stories are our time-tested cultural defense to cope with that which overwhelms the rational mind. We engage the arbitrary structures of narrative to serve as a needed filter, parsing the dataflow into digestible chains of meaning.

    Whatever narratives we choose, those narratives will need characters, sets, and props. The more that the digital and the physical merge, the more that every object in our lives will function not only for its physical properties, but also for its social properties and therefore its narrative value.

    We’ve always been in a narrative space. The transcendence of the prop out of the frame and into the world reinforces our role as actors in the lived hyperreal space of urban narrative. As actors — and as nodes in a network — we will increasingly find ourselves confronted with our lack of uniqueness; we may find ourselves (arche)type-cast, and at times struggle with the cheapness of the roles that have been written for us. We may long for a more heroic disposition or a more epic journey. And as a result of those obscure desires we may embrace a cosmopolitan tribalism with its own urban mythology.

    This essay first appeared in:

    Case 2. Have Balls [Eccentric]
    The Anxious Prop, First Edition — July 29, 2010
    SPLACE, Alexanderplatz Pavillon — Berlin, Germany

    Author's note: I am currently co-authoring a hypercubist manifesto and looking for collaborators.
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    Crossposted from Emergence Collective

    The Social API

    Lately there has been quite a bit of dialogue about writing a Social API (application programming interface) so that individuals and organizations can participate in "cross-platform" emergent innovation and action in a modular and plug-and-play manner. In our attempts to define what this Social API would look like, it becomes apparent it will not resemble the form of a normal API, as humans are not machines. What is a prescriptive, highly defined, unambiguous programming convention for writing software will need some serious translation to work for human brains.

    Regarding human brains, the way I see it:

    Action = Application
    Ideas = Programming
    Conversation = Interface

    Using this set of equivalencies we can see the potential for conversation (the interface) to spark new ideas (programming) which in turn causes us to act (application) resulting in all sorts of creative mashups of new behavior (the emergence?).

    Twitter as a Global Conversation

    Since I read Venessa's post about how to use Twitter to build intelligence, I have supported the idea that Twitter is a global conversation — albeit a global conversation parsed at 140 characters at a time (plus annotations coming soon) that is at least 90% cacophony! Nonetheless, this shift in understanding changed the way I use Twitter and had immediate results in my actions online and in the real world. Apart from becoming an evangelist for Venessa's article — I must have told at least two dozen people about it since I read it — I have had a new level of interaction using Twitter which is remarkable for its ability to manifest thought into action.

    The dilemma with Twitter is that you have to learn some secret code to get it working for you. Among many other issues, not that many Twitter newbies get properly introduced to the basics of # hashtagging and the @ at-reply. The result of this lack of connection and being on the inside of the Twitter culture is there is a large percentage of Twitter users with inactive accounts. Or, alternately, there is simply a misunderstanding that Twitter is just public Facebook status updates, deterring the most avid Facebook users from having to replicate what they perceive to be their primary social engagement on the web in a less private sphere.

    Junto: an Amplifier for the Power of Networks

    Unlike Twitter, the live-video medium allows us the fullest range of expression of our innate communication abilities, including the critical layers of non-verbal communication, gesture, tone, facial-expression, etc.

    Seesmic did not become "Video for Twitter" because it consisted of artificially short blips of recorded video. Video wants to be live. For it to deliver a Twitter-like conversation experience it needs to fluctuate and swell like the cacophonous birdsong of the Twitter-sphere. Have you ever listened to the sound of lots of birds singing on a spring morning? The basic form is a musical form. For video to achieve that degree of musicality, the live video signal becomes more important than the archived video recording.

    Nonetheless, an archive is important. And certainly there is a substantial knowledge cartography community who will undoubtedly step forward to map the terrain of the Junto global conversation. I believe a robust archive will be an emergent property of the Junto platform itself.

    Analog Networks

    We cannot forget, however, that major movements in human history occurred without digital networks. The power of networks is something which digitization quantifies, but that power exists regardless of the quantification. While that quantification can serve as a self-reflexive mirror which then generates feedback and thus amplification, it's valuable to remember the power of analog networks when considering the fate of the Social API.

    Whether looking to the student movement born in the cafe culture of Paris, the community organizing during the American civil rights movement, or even the twitter resistance used during the Iranian elections, social movements have historically been built on a foundation of an exchange of ideas. As I see it, the radical proposition of Junto is as an amplification platform for ideas (programming).

    The world is undergoing massive changes in economy, environment, society, politics — you name it — and the emergence is no less than a generational movement against repeating the mistakes of the last century.

    There, I said it. And yes, this means the emergence and what it represents has values. Values of a techno-spiritual-secular nature, yet nonetheless values. The Social API — whether it ends up taking the form of a future blog post, a video series, or a good old fashioned political pamphlet — is a set of common values which will guide the emergence.

    When Lawrence Lessig spoke in Berlin last year at the Sophiensaele, I asked a question from the audience: "what do you think of Twitter?" His response resonates with me to this day: "Twitter reminds me of Ghandi". He went on to explain that Gandhi was able to organize massive protests in India in a time when not even telephones were at hand to spread the message of a planned direct action. Lessig felt that it worked because the Indian culture had an innate value of passing on useful information to whoever needed to hear it. His view was that this represented a kind of analog "re-tweeting", and that if it should have any implication for what Twitter represents for our culture, he was optimistic.
    Sun, Jul 11, 2010  Permanent link
    Categories: manifestation, junto, social API, action
    Sent to project: Polytopia
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    Fail Safe

    How secure must we be to take risks? Does anonymity play a big role in how you behave online? What is the difference between losing and failing? "Fail Safe" begins a conversation on these topics and invites your participation ( twitter hashtags #failsafe and #failcon )

    This video was created at the Fail Conference in Berlin, Germany on 7 May 2010, an event by PALOMAR5, YOUR NEIGHBOURS and KS12.

    Directed & Edited by GABRIEL SHALOM
    Produced by KS12
    Assistant Editor ANNIKA BAUER
    Title Design by PATRIZIA KOMMERELL


    Street Interviews and Photos by LAURENT HOFFMANN and GEORGIANA TUGUI
    Drawings by Event Participants


    PAUL B. DAVIS "Put It Down"
    PROFI BROS "L.A. Gears"
    NINE INCH NAILS "1 Ghosts I"

    2010 CC Attribution-Noncommercial 3.0

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    continue the conversation:
    Twitter hashtags #failsafe and #failcon
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    There is an evolving practice of manifesting intention via aeshetics. I would like to see an evolution in which we truly free our minds of controlling insight as if it were property and enable others to benefit from our vision of the potential futures we witness.

    In the spirit of this intention, I would like to assess the latent potential of the following entities/platforms as per my last post.

    Space Collective is running an exemplary platform for collective intention manifestation (cargo) which could be "white labeled" for use by similar organizations with parallel formal needs and divergent content interests.

    Junto is prototyping a radical telepresent communication platform that raises the ecstatic moment of connectivity to a new high of emergent conversation and collective thinking. Junto has the potential to serve as the backbone of a federated platform of telepresent services which would transform the web in a permanent fashion, adding a truly "real-time" component to social networks.

    Palomar5 is an evolving global network of innovators, artists, thinkers and doers who have intentions on bettering the world through creativity and exploration of collaborative spaces. Their model has the potential to evolve into a global movement/agency with the capacity to invert the traditional relationship between creative ideas and capital investment.

    Would anyone care to help me connect the dots?
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